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Cold Storage

I furnished my last design studio with bespoke Danish shelving, three Eames desk units, nine glass tables, 12 chairs, etc. When I closed the studio I moved the furnishings plus a few hundred design books—including books I’d written, foreign translations of my work, books by other designers that I’d published, translations of some of those books, oversized and rare design books, books signed by their authors and sent to me, and so on.

I could not fit the Danish shelving into my apartment—hell, it’s too large to fit into the elevators in my building. I gave away the Eames Desk units and fancy chairs. I managed to drag home my tulip chair and ball chair. Everything else went into a storage unit in Chelsea. It was an easy walk from my old studio to the Chelsea storage unit, and a healthy walk from my apartment to the unit. Every month I paid around $400 for the privilege of storing the stuff.

When companies buy other companies, employees and customers lose big.

At some point Chelsea Storage sold out to another company, which then sold to a third company, located somewhere in the middle of the Bronx.

That company didn’t tell me they’d moved my stuff, did not contact me about it, and certainly did not obtain my consent before moving it. I assume they were equally cavalier with the other existing customers. They didn’t even send a new contract.

Instead, they jacked up the monthly rate to $500 and began charging my old studio zeldman company card. I didn’t notice, and I cancelled the card soon afterwards, as you do when you close a business. Oops!

When their automated bills to me stopped getting getting paid, they naturally took responsibility for their mistake and reached out to me cordially.

I kid of course. What they did was send my account to a collection agency.

Ring-ring, my telephone’s talking.

When the agency reached me by phone and I inquired politely who they were (remember, nobody had contacted me), they explained grudgingly that I owed a few thousand dollars in back rent on the storage place I’d never heard of and had never contracted with.

I asked, what if I remove my stuff from your unit? They said, you can’t remove it until you pay us the back fees.

I went into debt to do so—at the time my partners and I were saddled with painful closing costs from shuttering our conference and publishing companies, so it was just more kindling for the big fire of business debt.

Once I got the money together to pay them off, they sent me a new two-year contract. I had no choice but to sign it.

A brief calm settled in. For a time, $500 flew out of my bank account every month and was directly deposited to these crooks’ account because I now had an ironclad contract with them and there was no other place to put my stuff.

I never visited the location or looked at my stuff. The whole thing might be a scam. For all I know, they set the old units on fire and are billing me for an imaginary storage space.

In any case, I’m an adult and a professional, and I don’t want my credit hurt any worse by debt than it has to be, so naturally I continued to pay them, telling myself I would shop around and find a closer and more affordable storage option soon, but this would do for now. And now, as is its frequent habit, soon stretched into years.

Bad business, meet bad software.

Then about six months ago, the company either changed their name again, or sold to a new owner, or for some other reason (rabies? astrology?) decided that since auto-pay through my bank worked fine and got them paid each month, they would stop using it.

Whatever the rationale, they stopped accepting payment from my bank and sent a boilerplate email telling me to visit their new custom payment website and leap backwards through my own anus each month to pay their increased fee with the least convenience possible.

Listen. There’s good payment software out there. You know it. I know it. My company makes some of the best, and, before I joined Automattic, my old studio had a partnership with another great shopping platform. But people who buy storage units without informing their customers don’t use or know about such things. They typically find some terrible software that’s built cheaply, quickly, and badly, and that’s what these folks did.

Remember: Good UX is what companies do when they have to. A company that has your stuff locked away doesn’t have to.

You’ll never guess what happened next.

Their new website has never ever worked for me.

Thus, every month I get an automated, threatening text demanding immediate payment via their website that never works. Every month I try.

I squander a good 20 minutes trying to log in. Every month the terrible website no longer accepts my password. Every month I create a new password which sometimes works for that month only, and then never again, and sometimes doesn’t even do that. (Because the new password process demands access codes and other information they have never sent me, so I cannot provide it.)

Inevitably, every month I reach out to them, explain the situation—not the part about them being shitheads whose business model is extractive and whose lousy business practices undoubtedly violate dozens of consumer protection laws. I never complain about any of that, because why burden an overworked phone operator, who has naught to do with the company’s policies? Besides, you attract more flies with honey, etc. So I just tell them—as if it is news; as if it hasn’t happened every month before—that I’m locked out of the site so cannot pay them, and politely ask them to send me a new temporary password so I can pay them.

Invariably they ignore me at first, because of course that’s what a company like this would do.

Typically they phone me a few dozen times—but I never pick up when they do. Eventually, they do what I asked. Which enables me to send them $500 that one time. Next month I’ll face the same hassle. And every month after that. For the privilege of believing that my precious book collection and those glorious shelves still exist somewhere, safely housed from storm and fire and mildew.

I know the solution is to journey to the Bronx twice: First time, to see if I even have a storage unit at the place, what’s in it, and what options I may have. (Switch to smaller, cheaper unit? Drag everything to the street?) Second time to take every stick of furniture out of their shitty business and find other places for it. Assuming any storage business in NYC behaves ethically, of course. Which, hey, eventually, with our new mayor, may happen. But hasn’t yet and I wouldn’t lay odds.

And whenever I actually have enough days off in a row to consider tackling this problem and putting it behind me, something else comes up—I’m sick, or my kid’s sick, or I just don’t feel like traveling to the Bronx to argue with some nice person who needed a job and has nothing to do with the bullshit their company inflicts on its customers. (After all, the company is likely even shittier to its employees than it is to its customers.)

For years, now, this thing has been like a small cancer in my life—like a painful wart in a private place—and I still can’t bring myself to deal with it. Blame it on PTSD and anxiety disorder. Anyway:

I never make new year’s resolutions but hear me now: Before this year ends, I will resolve this, if only just to symbolically give the finger to every low-down, chiseling, extractive business in Christendom as personified by these feckless fucks.

First post of 2026: Done. Apologies for not writing it prettier.

Bonus treat: studio.zeldman 3D walkthroughRoland Dubois.

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“Where the people are”

It’s nearly twenty years ago, now, children. Facebook had only recently burst the bounds of Harvard Yard. Twitter had just slipped the bonds of the digital underground. But web geeks like me still saw “social media” as a continuation of the older digital networks, protocols, listservs, and discussion forums we’d come up using, and not as the profound disruption that, partnered with smartphones and faster cellular networks, they would soon turn out to be. 

So when world-renowned CSS genius Eric Meyer and I, his plodding Dr Watson, envisioned adding a digital discussion component to our live front-end web design conference events, our first thought had been to create a bespoke one. We had already worked with a partner to adapt a framework he’d built for another client, and were considering whether to continue along that path or forge a new one.

And then, one day, I was talking to Louis Rosenfeld—the Prometheus of information architecture and founder of Rosenfeld Media. I told Lou about the quest Eric and I were on, to enhance An Event Apart with a private social network, and shared a roadblock we’d hit. And Lou said something brilliant that day. Something that would never have occurred to me. He said: “Why not use Facebook? It already exists, and that’s where the people are.”

The habit of building

Reader, in all my previous years as a web designer, I had always built from scratch or worked with partners who did so. Perhaps, because I ran a small design agency and my mental framework was client services, the habit of building was ingrained. 

After all, a chief reason clients came to us was because they needed something we could create and they could not. I had a preference for bespoke because it was designed to solve specific problems, which was (and is) the design business model as well as the justification for the profession. 

Our community web design conference had a brand that tied into the brand of our community web design magazine (and soon-to-emerge community web design book publishing house). All my assumptions and biases were primed for discovery, design, development, and endless ongoing experiments and improvements.

Use something that was already out there? And not just something, but a clunky walled garden with an embarrassing origin story as a hot-or-not variant cobbled together by an angry, virginal undergraduate? The very idea set off all my self-protective alarms.

A lesson in humility

Fortunately, on that day, I allowed a strong, simple idea to penetrate my big, beautiful wall of assumptions.

Fortunately, I listened to Lou. And brought the idea to Eric, who agreed.

The story is a bit more complicated than what I’ve just shared. More voices and inputs contributed to the thinking; some development work was done, and a prototype bespoke community was rolled out for our attendees’ pleasure. But ultimately, we followed Lou’s advice, creating a Facebook group because that’s where the people were. 

We also used Twitter, during its glory days (which coincided with our conference’s). And Flickr. Because those places are where the people were. 

And when you think about it, if people already know how to use one platform, and have demonstrated a preference for doing so, it can be wasteful of their time (not to mention arrogant) to expect them to learn another platform, simply because that one bears your logo.

Intersecting planes of simple yet powerful ideas

Of course, there are valid reasons not to use corporate social networks. Just as there are valid reasons to only use open source or free software. Or to not eat animals. But those real issues are not the drivers of this particular story. 

This particular story is about a smart friend slicing through a Gordian Knot (aka my convoluted mental model, constructed as a result of, and justification for, how I earned a living), and providing me with a life lesson whose wisdom I continue to hold close.

It’s a lesson that intersects with other moments of enlightenment, such as “Don’t tell people who they are or how they should feel; listen and believe when they tell you.” Meet people where they are. It’s a fundamental principle of good UX design. Like pave the cowpaths. Which is really the same thing. We take these ideas for granted, now.

But once, and not so long ago, there was a time. Not one brief shining moment that was known as Camelot. But a time when media was no longer one-to-many, and not yet many-to-many. A time when it was still possible for designers like me to think we knew best. 

I’m glad a friend knew better.

Afterword

I started telling this story to explain why I find myself posting, sometimes redundantly, to multiple social networks—including one that feels increasingly like Mordor. 

I go to them—even the one that breaks my heart—because, in this moment, they are where the people are. 

Of course, as often happens, when I begin to tell a story that I think is about one thing, I discover that it’s about something else entirely.

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Fear of getting noticed

Back when I was in advertising, one of my team’s clients was a well-known Irish Airline. They could only afford an 1/8th-page ad in the travel section of the paper. But my partners and I didn’t think creativity was dependent on budget. We were determined to deliver great ads for them—ads that would make a viewer look, even though the ad was tiny and was surrounded by other ads.

So we created a standout campaign for them—the kind that would not simply be noticed, but would also make travel-focused consumers smile and encourage them to buy tickets.

We blew up our tiny layouts and mounted the enlargements on illustration board, for an impactful creative presentation when we met to show the client the work.

The great day came. The work was good, and we had rehearsed our presentation to perfection. We booked the conference room, had the client’s favorite snacks and beverages spread out when they arrived, and sold our little hearts out as we presented.

Silence.

The lead client blinked, cleared his throat, and finally said, in a thick Irish brogue:

“I’m afraid it’s far too clever for our needs. It calls too much attention to itself on the page,” he explained—as if getting a distracted newspaper reader to notice his company’s message was a bad thing.

The lead client asked us to set “Ireland $399” in bold type, stick a shamrock in one of the 9s, and call it a day.



Fear of getting noticed is a terrible thing. It’s also a self-fulfilling prophecy.

Clickbait headlines get a deservedly bad rap in digital marketing, but you know what else should get a bad rap? Blind, boring, infinitely ignorable links and titles, that’s what.

Crafting messages that get noticed and acted upon by their intended audience—the people for whom you create your company’s digital products in the first place—isn’t a crime. It’s your job.


Hat tip to Mark Mazut and Tim Irwin, my fellow passengers on the above disaster. Bit o’ nostalgia for those who remember The Ad Graveyard.

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Design Kickoff Meetings

Posted here for posterity:

Design kickoff meetings are like first dates that prepare you for an exciting relationship with a person who doesn’t exist.

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Big Web Show ? 159: If You Can’t Stand the Heatmaps, Stay Out of the Conversion, with @nickd

Nick Disabato AKA @nickd

NICK Disabato (@nickd) and I discuss heat maps, conversion rates, design specialization, writing for the web, Jakob Nielsen, and the early days of blogging in Episode ? 159 of The Big Web Show – “everything web that matters.” Listen and enjoy.

Sponsored by ZipRecruiter, Blue Apron, User Interviews, and Hotjar.

URLS

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Big Web Show ? 150: Giant Paradigm Shifts and Other Delights With Brad Frost

Brad Frost, photographed at An Event Apart by Jeffrey Zeldman.

BOY, was this show overdue. For the first time ever on The Big Web Show, I chat with my friend, front-end developer extraordinaire Brad Frost, author of the spanking new book, Atomic Design.

We have fun. We go way over time. We kept talking after the show stopped. There was just so much to discuss—including Pattern Lab and style guides, being there for the iPad launch, working with big brands, how to say no and make the client happy you said it, avoiding antipatterns, mobile versus “the real web” (or the way we saw things in 2009), dressing for success, contributing to open source projects, building a community, the early days of Brad’s career, and that new book of his.

Listen to Episode ? 150 on the 5by5 network, or subscribe via iTunes. And pick up Brad’s book before they sell out!

Sponsored by Braintree and Incapsula.

Brad Frost URLS

@brad_frost
http://bradfrost.com
http://patternlab.io/
http://bradfrost.com/blog/
http://bradfrost.github.com/this-is-responsive/
http://wtfmobileweb.com/
http://deathtobullshit.com/
http://wtfqrcodes.com/
http://bradfrost.com/music
http://bradfrost.com/art

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Ten Years Ago on the Web

2006 DOESN’T seem forever ago until I remember that we were tracking IE7 bugsworrying about the RSS feed validator, and viewing Drupal as an accessibility-and-web-standards-positive platform, at the time. Pundits were claiming bad design was good for the web (just as some still do). Joe Clark was critiquing WCAG 2. “An Inconvenient Truth” was playing in theaters, and many folks were surprised to learn that climate change was a thing.

I was writing the second edition of Designing With Web Standards. My daughter, who is about to turn twelve, was about to turn two. My dad suffered a heart attack. (Relax! Ten years later, he is still around and healthy.) A List Apart had just added a job board. “The revolution will be salaried,” we trumpeted.

Preparing for An Event Apart Atlanta, An Event Apart NYC, and An Event Apart Chicago (sponsored by Jewelboxing! RIP) consumed much of my time and energy. Attendees told us these were good shows, and they were, but you would not recognize them as AEA events today—they were much more homespun. “Hey, kids, let’s put on a show!” we used to joke. “My mom will sew the costumes and my dad will build the sets.” (It’s a quotation from a 1940s Andy Hardy movie, not a reflection of our personal views about gender roles.)

Jim Coudal, Jason Fried and I had just launched The Deck, an experiment in unobtrusive, discreet web advertising. Over the next ten years, the ad industry pointedly ignored our experiment, in favor of user tracking, popups, and other anti-patterns. Not entirely coincidentally, my studio had just redesigned the website of Advertising Age, the leading journal of the advertising profession.

Other sites we designed that year included Dictionary.com and Gnu Foods. We also worked on Ma.gnolia, a social bookmarking tool with well-thought-out features like Saved Copies (so you never lost a web page, even if it moved or went offline), Bookmark Ratings, Bookmark Privacy, and Groups. We designed the product for our client and developed many of its features. Rest in peace.

I was reading Adam Greenfield’s Everyware: The Dawning Age of Ubiquitous Computing, a delightfully written text that anticipated and suggested design rules and thinking for our present Internet of Things. It’s a fine book, and one I helped Adam bring to a good publisher. (Clearly, I was itching to break into publishing myself, which I would do with two partners a year or two afterwards.)

In short, it was a year like any other on this wonderful web of ours—full of sound and fury, true, but also rife with innovation and delight.


As part of An Event Apart’s A Decade Apart celebration—commemorating our first ten years as a design and development conference—we asked people we know and love what they were doing professionally ten years ago, in 2006. If you missed parts onetwothree, or four, have a look back.

 

 

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A List Apart ? 421 Gets Personal

A List Apart Issue No. 421

THERE’S GREAT reading for people who make websites in Issue No. 421 of A List Apart:

Resetting Agency Culture

by Justin Dauer

Forget Air Hockey, Zen Gardens, and sleep pods: a true “dream” company invests in its people—fostering a workplace that supports dialogue, collaboration, and professional development. From onboarding new hires to ongoing engagement, Justin Dauer shares starting points for a healthy office dynamic and confident, happy employees. ?


Crafting a Design Persona

by Meg Dickey-Kurdziolek

Every product has a personality—is yours by design? Meg Dickey-Kurdziolek shows you how Weather Underground solved its personality problems by creating a design persona, and teaches you collaborative methods for starting a personality adjustment in your company. ?


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The Arc of a Design Career: Khoi Vinh on The Big Web Show ? 128

Khoi Vinh, photographed by Khoi Vinh

KHOI VINH IS my guest in Episode ? 128 of The Big Web Show (“Everything Web That Matters”).

Khoi is a web and graphic designer, blogger, and former design director for The New York Times, where he worked from January 2006 until July 2010. Prior to that, Khoi co-founded and was design director for Behavior, a New York digital design studio. He is the author of  How They Got There: Interviews With Digital Designers About Their Careers (coming in 2015) and Ordering Disorder: Grid Principles for Web Design (New Riders, 2010), and was a leading proponent of bringing grid-based graphic design principles to web design in the mid-2000s. In 2011, Fast Company named him one of “The 50 Most Influential Designers in America.”

? Listen to Episode ? 128 of The Big Web Show.

URLs

http://www.subtraction.com
https://twitter.com/khoi
http://howtheygotthere.us
http://trywildcard.com
http://www.nytimes.com/2008/04/21/business/media/21askthetimes.html
http://www.creativebloq.com/khoi-vinh-using-sketch-instead-photoshop-6133901
http://www.behaviordesign.com
http://vllg.com/constellation/galaxie-polaris


Sponsored by DreamHost.

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Design Is A Relationship

Mike Monteiro

MIKE MONTEIRO is a man on a mission. He wants to improve design by fixing the core of it, which is the relationship between designer and client. Too many of us fear our clients—the people whose money keeps our lights on, and who hire us to solve business problems they can’t solve for themselves. And too many clients are even more frustrated and puzzled by their designers than the designers are by the clients.

It’s the designer’s job to fix this, which is why Mike first wrote Design Is A Job, and spent two years taking the message into conference halls and meeting rooms from New Zealand to New York.

I wish every designer could read this book. I can’t tell you how many friends of mine—many of whom I consider far better designers than I am—struggle every day with terrible anxieties over how a client will react to their work. And the problem isn’t limited to web and interaction designers. Anybody who designs anything burns cycles in fear and acrimony. I too waste hours worrying about the client’s reaction—but a dip into Mike’s first book relaxes me like a warm milk bath, and reminds me that collaboration and persuasion are the essence of my craft and well within my power to execute.

If the designer’s side of things were the only part of the problem Mike had addressed, it would be enough. But there is more:

  • Next Mike will help clients understand what they should expect from a designer and learn how to hire one they can work with. How he will do that is still a secret—although folks attending An Event Apart San Francisco this week will get a clue.
  • Design education is the third leg of the chair, and once he has spread his message to clients, Mike intends to fix that or die trying. As Mike sees it (and I agree) too many design programs turn out students who can defend their work in an academic critique session among their peers, but have no idea how to talk to clients and no comprehension of their problems. We are creating a generation of skilled and talented but only semi-employable designers—designers who, unless they have the luck to learn what their expensive education didn’t teach them, will have miserably frustrating careers and turn out sub-par work that doesn’t solve their clients’ problems.

We web and interaction designers are always seeking to understand our user, and to solve the user’s problems with empathy and compassion. Perhaps we should start with the user who hires us.

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From Chicago, With Love

Marina City, Chicago, IL, USA. Part of a photo set by Jeffrey Zeldman.

HEY, FRIENDS. I write from the magical city of Chicago, where I’m enjoying the first Happy Cog Summit. Next week, following our meet-up cum strategy session cum karaoke party, comes An Event Apart Chicago, three days of peace, love, and web standards (plus more Chicago magic).

I won’t be writing here much while these events continue, but I’ve started a Chicago 2012 photo slide show for your pleasure, and will add to it as time and aesthetics permit. You can also stalk me via my new Foursquare Chicago list.

Once An Event Apart kicks in, starting Monday August 27, and until it ends Wednesday night, August 29, I’ll post links and notes here—and you can follow the hot tweet-by-tweet action on A Feed Apart, the official feed aggregator for An Event Apart. Yowee!

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Leo Laporte interviews JZ

IN EPISODE 63 of Triangulation, Leo Laporte, a gracious and knowledgeable podcaster/broadcaster straight outta Petaluma, CA, interviews Your Humble Narrator about web standards history, responsive web design, content first, the state of standards in a multi-device world, and why communists sometimes make lousy band managers.

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Mike Monteiro’s “Design Is A Job” is finally available to buy or preview.

CO-FOUNDER of Mule Design and raconteur Mike Monteiro wants to help you do your job better. From contracts to selling design, from working with clients to working with each other, his brief book Design Is A Job is packed with knowledge you need to know. This is one of the most in-demand titles we at A Book Apart have yet published, and the long, long wait for its release (and yours) is finally over!

— Enjoy an exclusive Preview of Design Is A Job in Issue No. 348 of A List Apart, for people who make websites.

Buy Design Is A Job directly from the makers at A Book Apart.

Also of interest:

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An Event Apart Atlanta 2011

YOU FIND ME ENSCONCED in the fabulous Buckhead, Atlanta Intercontinental Hotel, preparing to unleash An Event Apart Atlanta 2011, three days of design, code, and content strategy for people who make websites. Eric Meyer and I co-founded our traveling web conference in December, 2005; in 2006 we chose Atlanta for our second event, and it was the worst show we’ve ever done. We hosted at Turner Field, not realizing that half the audience would be forced to crane their necks around pillars if they wanted to see our speakers or the screen on which slides were projected.

Also not realizing that Turner Field’s promised contractual ability to deliver Wi-Fi was more theoretical than factual: the venue’s A/V guy spent the entire show trying to get an internet connection going. You could watch audience members twitchily check their laptops for email every fourteen seconds, then make the “no internet” face that is not unlike the face addicts make when the crack dealer is late, then check their laptops again.

The food was good, our speakers (including local hero Todd Dominey) had wise lessons to impart, and most attendees had a pretty good time, but Eric and I still shudder to remember everything that went wrong with that gig.

Not to jinx anything, but times have changed. We are now a major three-day event, thanks to a kick-ass staff and the wonderful community that has made this show its home. We thank you from the bottoms of our big grateful hearts.

I will see several hundred of you for the next three days. Those not attending may follow along:

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F*ck you, pay me

2011/03 Mike Monteiro | F*ck You. Pay Me. from SanFrancisco/CreativeMornings on Vimeo.